‘De Dragers van het Beeld’ / ‘The Carriers of the Image’ – 3 – Winston van der Bok
De Dragers van het Beeld, in English: The Carriers of the Image, is an art exhibition that was held in the foyer of Theatre Thalia, from April 28 until May 7, 2017. It was part of the celebration of 180 years Theatre Thalia. Eight visual artists worked with the theme of death, and more: resurrection from death, new life …
Kit-Ling Tjon Pian Gi wrote a series of columns that we will be sharing on the SAX-blog. Today part 3, a text that accompanied the art work of Winston van der Bok. Please find the Dutch text under the English translation.
On the right: Winston van der Bok, ‘Transformation – Siwalapa (war club) motifs’, acrylic on wood, 2017 – USD 300 a piece / PHOTO Ada Korbee
Nicole Smythe-Johnson, curator from Jamaica and EdKe, Surinamese visual artist, discussing the exhibition On the right: Winston van der Bok, ‘Transformation – Siwalapa (war club) motifs’, acrylic on wood, 2017 – USD 300 a piece / PHOTO Ada Korbee
Winston van der Bok and the theme ‘transformation’
Transformation is a concept that characterizes the life of Winston van der Bok.
If you ask Winston why he chose the theme ‘transformation’, he says: ‘Thalia is 180 years old and it’s no longer as it was 180 years ago. It has been through several transformations and will go through yet another transformation again.’
‘Transformation is what I focus on in the arts. I am indigenous and want breathe new life into old traditions. The indigenous tribes all over the world have been pushed aside. I want to raise awareness for the valuable old cultures of the Indigenous. It is my calling to transform that which has always lived, and still lives, within my deepest being into a contemporary art form.’
When Winston talks about his life, it becomes clear that his whole life is made up of transformations. True to his native character, Winston does not adhere to a numeric year count and essentially lives a timeless existence. He looks at his life as a labyrinth of roads that he has traveled. There is no real beginning, and every end is a new beginning.
Winston was born in 1947 in a very small village on the Cottica River, as third child in a family of seven children. Straight from his mother’s hammock, the young baby was given to two strangers who wanted the little baby very badly. His parents were convinced that the foreigners would be able to provide their child with a better future.
Winston grew up in the USA, where two strict, but fantastic foster mothers raised him, until he was about fifteen years old. Around his fifteenth birthday he was suddenly sent back to Suriname. He would ride on the Cottica River in a canoe with his father, surrounded by a muttering of languages he did not understand. Upon arriving back in his village, his mother knelt at his feet. She inspected his left ankle, saw the birthmark, and knew that her son had returned.
Winston moved to Paramaribo and married a beautiful city creole woman. Together they had two sons. His wife passed away at a young age. His sons were nine and six years old. For many years there was no woman in Winston’s life and he raised his sons all by himself.
Winston studied at the Surinaamse Academie voor Beeldende Kunsten (SABK) [Surinamese Academy for Visual Arts] and worked, for many years, in visual communications, graphic design and product marketing for businesses. He also became a graphic design teacher at the AHKCO.
He became ill. It was an acute pancreatitis that was not diagnosed as such initially. He came face to face with death. It was beautiful. A pleasant journey without barriers, straight through everything.
A successful operation brought him back into the world of the living. His son fed him like a baby and his girlfriend came from the Netherlands to take care of him. From that point on a new life had begun. A new transformation had taken place.
Characters, patterns and symbols similar to those you might see on petroglyphs, the traditional weaving and pottery of the Indigenous, are important elements in the art of Winston. Remarkable is the appearance of movements without a beginning and without an end in his work.
TEXT Kit-Ling Tjon Pian Gi, 2017
Kit-Ling Tjon Pian Gi is a female visual artist from Suriname. She works and lives in Paramaribo, Suriname, South America. Kit-Ling studied visual art in Suriname and in the Netherlands. In 2005 Kit-Ling Tjon Pian Gi added the short video-film as a medium to her artwork. Kit-Ling Tjon Pian Gi makes paintings and drawings, inspired by the tropical rainforest, and the richness of the diverse cultures in Suriname.
Kit-Ling was the featured visual artist at the 13th International Conference of the Association of Caribbean Women Writers and Scholars. This conference, The Caribbean, the Land and the People; Women’s Efforts, Women’s Lives, was held in Suriname, in May 2012. Kit-Ling was the recipient of the Bridget Jones Award for 2013.
TRANSLATION Cassandra Gummels-Relyveld, 2017
PHOTOGRAPHY Ada Korbee & Marieke Visser, 2017
+++
‘De Dragers van het Beeld’ / ‘The Carriers of the Image’ – 1 – Introduction
‘De Dragers van het Beeld’ / The Carriers of the Image – 2 – Kit-Ling Tjon Pian Gi
‘De Dragers van het Beeld’ / The Carriers of the Image – 3 – Winston van der Bok
‘De Dragers van het Beeld’ / The Carriers of the Image – 4 – Razia Barsatie
‘De Dragers van het Beeld’ / The Carriers of the Image – 5 – Soeki Irodikromo
‘De Dragers van het Beeld’ / The Carriers of the Image – 6 – Dhiradj Ramsamoedj
‘De Dragers van het Beeld’ / The Carriers of the Image – 7 – Sri Irodikromo
‘De Dragers van het Beeld’ / The Carriers of the Image – 8 – Anand Binda
‘De Dragers van het Beeld’ / The Carriers of the Image – 9 – George Struikelblok
+++
Winston van der Bok en het thema ‘transformatie’
Transformatie is een begrip dat het leven van Winston van der Bok kenmerkt.
Als je Winston vraagt waarom hij heeft gekozen voor het thema ‘transformatie’, zegt hij: ‘Thalia is 180 jaar en is niet meer zoals het 180 jaar geleden was. Het heeft meerdere transformaties meegemaakt en zal ook weer een transformatie ondergaan.’
‘Transformatie is waarmee ik in de kunst bezig ben. Ik ben Inheems en ik wil oude tradities nieuw leven inblazen. Inheemsen zijn overal in de wereld weggedrukt. Ik wil de oude waardevolle cultuur van de Inheemsen onder de aandacht brengen. Het is mijn roeping om wat altijd in mijn diepste wezen heeft geleefd en nog steeds leeft, te transformeren naar een hedendaagse kunstvorm.’
Als Winston over zijn leven vertelt, blijkt zijn gehele leven uit transformaties te bestaan. Eigen aan zijn Inheemse karakter, kent Winston geen jaartallen en leeft in principe een tijdloos bestaan. Zelf ziet hij zijn leven als een labyrint van wegen die hij heeft bewandeld. Er bestaat niet echt een begin en elk einde is een nieuw begin.
Winston werd geboren in 1947 in een heel klein dorp aan de Cotticarivier, als derde kind uit een gezin van zeven kinderen. Als baby werd hij zo vanuit zijn moeders hangmat meegegeven aan twee vreemdelingen, die de kleine baby heel graag wilden. Zijn ouders waren van mening dat de buitenlanders hun kindje een betere toekomst konden geven.
Tot ongeveer zijn vijftiende jaar, groeide Winston op in de USA, streng opgevoed door twee fantastische pleegmoeders. Rond zijn vijftiende werd hij plotseling teruggestuurd naar Suriname. Hij voer met zijn vader in een korjaal op de Cotticarivier en werd omringd door een geroezemoes van talen die hij niet verstond. In zijn geboortedorp aangekomen, knielde zijn moeder aan zijn voeten. Ze inspecteerde zijn linkerenkel, zag de moedervlek en constateerde dat haar zoon was teruggekeerd.
Winston verhuisde naar Paramaribo en trouwde met een prachtige stadscreoolse. Ze kregen twee zoons. Op jonge leeftijd kwam zijn vrouw te overlijden. Zijn zoons waren negen en zes jaar oud. Jarenlang was er geen vrouw in Winston zijn leven en hij voedde zijn zoons helemaal alleen op.
Winston studeerde aan de Surinaamse Academie voor Beeldende Kunsten (SABK) en was jarenlang werkzaam op het gebied van de visuele communicatie, vormgeving en productmarketing voor bedrijven. Hij werd daarnaast ook docent grafische vormgeving op het AHKCO.
Hij werd ziek. Het was een acute alvleesklierontsteking die in de eerste instantie niet als zodanig werd onderkend. Hij heeft de dood gezien. Het was mooi. Een prettige reis zonder barrières dwars door alles heen.
Een goed geslaagde operatie bracht hem terug naar de wereld van de levenden. Zijn zoon voedde hem als een baby en zijn vriendin kwam uit Nederland om voor hem te zorgen. Daarmee is een nieuw leven begonnen. Er heeft een nieuwe transformatie plaatsgevonden.
Tekens, patronen en symbolen zoals je die kunt zien in de rotstekeningen, het vlecht- en aardewerk van de Inheemsen zijn belangrijke elementen in het werk van Winston. Opmerkelijk is de verschijning van bewegingen zonder begin en zonder einde in zijn werk.
‘De Dragers van het Beeld’ / ‘The Carriers of the Image’ – 2 – Kit-Ling Tjon Pian Gi
De Dragers van het Beeld, in English: The Carriers of the Image, is an art exhibition that was held in the foyer of Theatre Thalia, from April 28 until May 7, 2017. It was part of the celebration of 180 years Theatre Thalia. Eight visual artists worked with the theme of death, and more: resurrection from death, new life …
Kit-Ling Tjon Pian Gi wrote a series of columns that we will be sharing on the SAX-blog. Today part 2, a text that accompanied her art work. Please find the Dutch text under the English translation.
Kit-Ling Tjon Pian Gi, ‘Alakondre Phoenix’, 2017 / PHOTO Ada Korbee, 2017
Kit-Ling Tjon Pian Gi and the Alakondre Phoenix
Within the framework of 180 years Theatre Thalia, I, Kit-Ling Tjon Pian Gi, chose the phoenix as my subject.
The phoenix
This mythical creature fascinates me for several reasons.
In the first place, because it’s a bird and I have always seen the bird as a free spirit. The soaring bird takes me back to the time when I was a teenager dancing ballet, and I experienced that as the ultimate freedom to express emotions. Secondly, because of the fictional stories that balance somewhere on the edge between reality and fantasy, something I often like to do within the visual arts as well.
Thirdly, because the phoenix is a universal symbol of resurrection and immortality, but also of death and rebirth. As such the phoenix fits seamlessly within the theme we chose for the celebration of 180 years Thalia.
The fourth reason is that it’s a legendary bird that dies through self-sacrifice. Self-sacrifice intrigues me because in this world of people who give and take, those who only take, emanate such dominance. Is this group truly that large, or does it only seem so?
And fifth, because such mythical creatures seem to exist in different cultures. The phoenix is often compared to the Chinese Fenghuang and to the Garuda known in India as well as in Indonesia. The phoenix is even compared to the Mexican Quetzalcoatl.
The phoenix is described as a magnificent divine bird with feathers in striking colors and that can sing beautifully. His age ranges from 300 to 100.000 years. At the end of his life he sets himself on fire on a bed of fragrant herbs and from his ashes another phoenix arises.
Sometimes the phoenix is described as a heron, sometimes he has the characteristics of a peacock, and at other times he looks like an eagle.
The Alakondre Phoenix
Born and raised in Suriname, I have, when it comes to the visual arts, been on a quest through cultural diversity and hybridism. Ultimately this has led me to Alakondre. Why is Alakondre more than cultural diversity to me? Cultural diversity essentially involves different people. Alakondre is also within the individual persons.
I have currently defined Alakondre as follows: the adaptation of all cultures, from all countries, by the individual human being and by the various communities that inhabit the world. In order to be able to take Alakondre onto yourself, you have to open yourself up to those other cultures. You have to be curious and must want to learn more about the other cultures. When you embrace the other culture, it becomes a part of you. Because it becomes a part of yourself, you cannot hate it. With Alakondre there will be no more racial discrimination, and even less racial hatred.
My phoenix is an Alakondre Phoenix. It can be an egret, a sabaku. It can be an eagle, a gonini, but it can just as well be a simple small bird, a grietjebie (Great Kiskadee) or a pikan (Squirrel Cuckoo).
Kit-Ling Tjon Pian Gi, ‘Alakondre Phoenix’, 2017 / PHOTO Ada Korbee, 2017
Kit-Ling Tjon Pian Gi, ‘Alakondre Phoenix’, 2017 / PHOTO Ada Korbee, 2017
TEXT Kit-Ling Tjon Pian Gi, 2017
Kit-Ling Tjon Pian Gi is a female visual artist from Suriname. She works and lives in Paramaribo, Suriname, South America. Kit-Ling studied visual art in Suriname and in the Netherlands. In 2005 Kit-Ling Tjon Pian Gi added the short video-film as a medium to her artwork. Kit-Ling Tjon Pian Gi makes paintings and drawings, inspired by the tropical rainforest, and the richness of the diverse cultures in Suriname.
Kit-Ling was the featured visual artist at the 13th International Conference of the Association of Caribbean Women Writers and Scholars. This conference, The Caribbean, the Land and the People; Women’s Efforts, Women’s Lives, was held in Suriname, in May 2012. Kit-Ling was the recipient of the Bridget Jones Award for 2013.
TRANSLATION Cassandra Gummels-Relyveld, 2017
PHOTOGRAPHY Ada Korbee & Marieke Visser, 2017
+++
‘De Dragers van het Beeld’ / ‘The Carriers of the Image’ – 1 – Introduction
‘De Dragers van het Beeld’ / The Carriers of the Image – 2 – Kit-Ling Tjon Pian Gi
‘De Dragers van het Beeld’ / The Carriers of the Image – 3 – Winston van der Bok
‘De Dragers van het Beeld’ / The Carriers of the Image – 4 – Razia Barsatie
‘De Dragers van het Beeld’ / The Carriers of the Image – 5 – Soeki Irodikromo
‘De Dragers van het Beeld’ / The Carriers of the Image – 6 – Dhiradj Ramsamoedj
‘De Dragers van het Beeld’ / The Carriers of the Image – 7 – Sri Irodikromo
‘De Dragers van het Beeld’ / The Carriers of the Image – 8 – Anand Binda
‘De Dragers van het Beeld’ / The Carriers of the Image – 9 – George Struikelblok
+++
Kit-Ling Tjon Pian Gi en de Alakondre Phoenix
In verband met 180 jaar Thalia koos ik, Kit-Ling Tjon Pian Gi, voor het onderwerp ‘Phoenix’ of ‘Feniks’.
De Feniks of Phoenix
Het fabeldier boeit me om verschillende redenen.
Ten eerste omdat het een vogel is en ik heb de vogel altijd als een ‘free spirit’ (vrije geest) gezien. De zwevende vogel brengt me terug naar de tijd toen ik als tiener ballet danste en dat ervoer als summum van vrijheid in het uiten van emoties.
Ten tweede vanwege de gefantaseerde verhalen die balanceren op de rand van werkelijkheid en fantasie, zoals ik ook vaak zelf binnen de beeldende kunst wens te balanceren.
Ten derde omdat de feniks is een universeel symbool van wederopstanding en onsterfelijkheid is maar ook van dood en wedergeboorte. Hierbij sluit de feniks naadloos aan bij het thema dat we voor 180 jaar Thalia uitkozen.
Ten vierde omdat het een legendarische vogel is, die sterft door zelfopoffering. Zelfopoffering intrigeert me, omdat in deze wereld van mensen die geven en nemen, de mensen die alleen maar nemen, zo een dominantie uitstralen. Is die groep werkelijk zo groot of lijkt het maar zo?
Ten vijfde blijkt een soortgelijk fabeldier in verschillende culturen voor te komen. De feniks wordt vaak vergeleken met de Chinese Fenghuang en met de Garuda, die je zowel in India als in Indonesië tegenkomt. De feniks wordt zelfs vergeleken met de Mexicaanse Quetzalcoatl.
De feniks wordt beschreven als een prachtige goddelijke vogel met een vederdracht in schitterende kleuren en die prachtig kan zingen. Zijn leeftijd varieert van 300 tot 100.000 jaar. Aan het einde van zijn leven steekt hij zichzelf in brand op een bed van geurige kruiden en uit zijn as ontstaat een nieuwe feniks.
De ene keer wordt de feniks beschreven als reiger, soms heeft hij karakteristieken van een pauw. Een andere keer lijkt hij op een arend.
De Alakondre Phoenix
Geboren en opgegroeid in Suriname heb ik op het gebied van de beeldende kunst, een speurtocht door culturele diversiteit en hybriditeit gemaakt. Ik ben nu uiteindelijk terechtgekomen bij Alakondre. Waarom is voor mij, Alakondre meer dan culturele diversiteit? Bij culturele diversiteit zijn er in principe meerdere mensen betrokken. Alakondre zit ook in de individuele personen.
Alakondre heb ik nu als volgt gedefinieerd: de adaptatie van alle culturen van alle landen door de individuele mens en door de verschillende leefgemeenschappen die de wereld bevolken. Om in staat te zijn Alakondre tot je te nemen, moet je jezelf openstellen voor die andere culturen. Je moet nieuwsgierig zijn om te weten hoe die andere cultuur in elkaar zit. Als je die andere cultuur in jezelf opneemt, wordt het een onderdeel van jezelf. Omdat het een onderdeel van jezelf is, kan je het niet haten. Met Alakondre zal er dan geen rassendiscriminatie zijn, nog minder rassenhaat.
Mijn Phoenix of Feniks is een Alakondre Phoenix. Het kan een reiger zijn, een sabaku. Het kan een arend zijn, een gonini, maar het kan ook een eenvoudig klein vogeltje zijn, een grietjebie of een pikan.
‘De Dragers van het Beeld’ / ‘The Carriers of the Image’ – 1 – Introduction
De Dragers van het Beeld, in English: The Carriers of the Image, is an art exhibition that was held in the foyer of Theatre Thalia, from April 28 until May 7, 2017. It was part of the celebration of 180 years Theatre Thalia. Eight visual artists worked with the theme of death, and more: resurrection from death, new life …
Kit-Ling Tjon Pian Gi wrote a series of columns that we will be sharing on the SAX-blog. Today part 1. Please find the Dutch text under the English text.
A Sparkling New Life
‘Alakondre [literally meaning: of all countries] is the word that we should use to brand Suriname’, said Alida Neslo. With that statement she found an immediate ally within me. This alliance would be continued, as I became the coordinator for visual arts of a team dedicated to celebrate the 180th anniversary of Theatre Thalia in a fitting way. The celebration of 180 years Thalia should breathe new and sparkling life into the theatre.
The Theme
In many cultures death is seen as the end of one life and the beginning of another new life. As a team dedicated to the celebration of 180 years Thalia, we initially spoke more about death and the way in which different cultures process death. But almost simultaneously, the discussion started to revolve around what happens after death: reincarnation, the afterlife, rebirth, etc. The most dominant question that came up was: How is this interpreted by different people and by different cultures? The theme for the celebration of Thalia 180 years, started to develop from here. Eros, Thanatos and Phoenix were brought forward as points of departure for the theme of the celebration. Eros as life energy, Thanatos as the non-violent peaceful death and the Phoenix as the symbol of eternal life; a cyclical life of passing and rebirth.
Visual Art
The theme was presented to the eight participating visual artists: Razia Barsatie, Anand Binda, Winston van der Bok, Soeki Irodikromo, Sri Irodikromo, Dhiradj Ramsamoedj, George Struikelblok and Kit-Ling Tjon Pian Gi. Each artist was inspired by an entirely different aspect of the theme.
The diverse interpretations of the theme are elaborated upon in various short columns, which will help the public to better understand what the works of art displayed in the celebratory exhibition of Theatre Thalia 180 years are actually about. This visual art exhibition was on display from April 28 until May 7, 2017. In addition to the visual art exhibition there also was a Living Art Show, which was presented within the dance program in the weekend of May 5-7, 2017. It was a collaboration between visual artists and performance artists. The artistic concepts, created by the visual artists, were interpreted and performed by the performance artists. The coordination of the Living Art Show was in the hands of Dweight Warsodikromo.
TEXT Kit-Ling Tjon Pian Gi, 2017
Kit-Ling Tjon Pian Gi is a female visual artist from Suriname. She works and lives in Paramaribo, Suriname, South America. Kit-Ling studied visual art in Suriname and in the Netherlands. In 2005 Kit-Ling Tjon Pian Gi added the short video-film as a medium to her artwork. Kit-Ling Tjon Pian Gi makes paintings and drawings, inspired by the tropical rainforest, and the richness of the diverse cultures in Suriname.
Kit-Ling was the featured visual artist at the 13th International Conference of the Association of Caribbean Women Writers and Scholars. This conference, The Caribbean, the Land and the People; Women’s Efforts, Women’s Lives, was held in Suriname, in May 2012. Kit-Ling was the recipient of the Bridget Jones Award for 2013.
TRANSLATION Cassandra Gummels-Relyveld, 2017
PHOTOGRAPHY Ada Korbee & Marieke Visser, 2017
+++
‘De Dragers van het Beeld’ / ‘The Carriers of the Image’ – 1 – Introduction
‘De Dragers van het Beeld’ / The Carriers of the Image – 2 – Kit-Ling Tjon Pian Gi
‘De Dragers van het Beeld’ / The Carriers of the Image – 3 – Winston van der Bok
‘De Dragers van het Beeld’ / The Carriers of the Image – 4 – Razia Barsatie
‘De Dragers van het Beeld’ / The Carriers of the Image – 5 – Soeki Irodikromo
‘De Dragers van het Beeld’ / The Carriers of the Image – 6 – Dhiradj Ramsamoedj
‘De Dragers van het Beeld’ / The Carriers of the Image – 7 – Sri Irodikromo
‘De Dragers van het Beeld’ / The Carriers of the Image – 8 – Anand Binda
‘De Dragers van het Beeld’ / The Carriers of the Image – 9 – George Struikelblok
+++
Een sprankelend nieuw leven
‘Alakondre is het woord waarmee we Suriname moeten branden’, zei Alida Neslo en daarmee had ze in mij een bondgenoot gevonden. Dit bondgenootschap zette zich voort door als coördinator van beeldende kunst plaats te nemen in een team dat zich zou inzetten om 180 jaar Theater Thalia op gepaste wijze te vieren. De viering van 180 jaar Thalia moet Thalia weer nieuw en sprankelend leven inblazen.
Het thema
In veel culturen wordt de dood gezien als het einde van een bepaald leven en het begin van een ander nieuw leven. Als team dat zich wilde inzetten voor de viering van 180 jaar Thalia, spraken we eerst meer over de dood en het verwerken van de dood binnen verschillende culturen. Maar bijna simultaan werd er ook gesproken over wat er na de dood gebeurt: de reïncarnatie, het hiernamaals, de wedergeboorte etc. Daarbij werd vooral de vraag gesteld: Hoe wordt dit gezien door verschillende mensen, verschillende culturen? Van daaruit is het thema rond de viering van Thalia 180 jaar zich verder gaan ontwikkelen. Eros, Thanatos en Phoenix (Feniks) werden als uitgangspunten voor het thema binnen de viering van 180 jaar Thalia naar voren geschoven. Eros als levensenergie, Thanatos als de geweldloze zachte dood en de Phoenix als symbool van een eeuwig leven; een cyclisch leven van heengaan en wedergeboorte.
Beeldende kunst
Het thema werd voorgelegd aan de acht (8) deelnemende beeldende kunstenaars, te weten Razia Barsatie, Anand Binda, Winston van der Bok, Soeki Irodikromo, Sri Irodikromo, Dhiradj Ramsamoedj, George Struikelblok en Kit-Ling Tjon Pian Gi. Elke kunstenaar werd geïnspireerd door een geheel andere aspect van het thema.
De diverse interpretaties van het thema zijn in verschillende korte columns uiteen gezet en op deze manier kwam het kunstminnend publiek meer te weten over de inhoud van de kunstwerken die in de feestexpositie van Theater Thalia 180 jaar te zien waren. Deze beeldende kunstexpositie was te zien vanaf 28 april tot en met 7 mei 2017. Naast de beeldende kunstexpositie is er ook een Living Art Show gepresenteerd binnen het dansprogramma in het weekend van 5 tot en met 7 mei 2017. Het betrof een samenwerking tussen beeldende kunstenaars en performance artiesten. De kunstconcepten kwamen van de beeldende kunstenaars, maar werden geïnterpreteerd en uitgevoerd door de performance kunstenaars. De coördinatie van de Living Art Show was in handen van Dweight Warsodikromo.
Thursday-Night-Feature: Presentation Kenneth Flijders
What: Thursday-Night-Feature, Presentation Kenneth Flijders (Facebook Event)
When: Thursday June 01, 2017, 19:00-21:00 hrs, presentation starts at 19:30 hrs
Where: Readytex Art Gallery (RAG) (also on Facebook), Steenbakkerijstraat 30, Paramaribo, Suriname
Kenneth Flijders: His fondness for the Mahogany tree and the surprising artistic possibilities it offers him
Readytex Art Gallery and visual artist Kenneth Flijders are getting ready for the upcoming Thursday-Night-Feature (TNF) of June 1st. On this evening this seasoned yet humble artist will surprise the public with a special presentation. For a very long time now, and for several reasons, Kenneth Flijders has been fascinated with the Mahogany tree. The important role that this tree plays in his life has a lot to do with his great love for plants and his genuine interest in everything of special historical value to Suriname, but it is especially important because of his career as an artist.
Kenneth Flijders is an artist who, throughout his career, is known to sculpt, to paint, make various types of prints, but who above all likes to experiment with different materials and surfaces. In his work he has used palm fibers, the natural handmade paper from his students at ‘Stichting Matoekoe’, he has painted on old discarded doors and windows that would normally have ended up as garbage, and at one point he discovers that he can paint beautifully with an extract obtained from left over pieces of Mahogany wood. In his workplace, wood from old fallen over or removed Mahogany trees is transformed into unique sculptures such as his famous and quite realistic watermelon and pumpkin pieces, but also into a new experimental pigment, which he successfully paints with on canvas and paper.
On this upcoming TNF Kenneth Flijders will talk about, and demonstrate, how he uses Mahogany tree remnants to make the rich reddish-brown extract that he uses to paint with. He will also talk about his particular affinity for the Mahogany tree and he will exhibit several of the works of art in which he has used the extract. In his own garden Kenneth Flijders plants and grows several of these trees and he will also incorporate a number of small Mahogany trees in his presentation. Everybody is welcome to join us in Readytex Art Gallery for this special presentation of Kenneth Flijders at the TNF of Thursday June 1st. Doors are open from 7:00pm-9:00pm and the presentation starts at 7:30pm.
Kenneth Flijders / PHOTO Courtesy Readytex Art Gallery
Thursday-Night-Feature: Open House Readytex Art Gallery
What: Thursday-Night-Feature, Open House Readytex Art Gallery (Facebook Event)
When: Thursday May 04, 2017, 19:00-21:00 hrs
Where: Readytex Art Gallery (RAG) (also on Facebook), Steenbakkerijstraat 30, Paramaribo, Suriname
At the upcoming Thursday-Night-Feature on May 4th, Readytex Art Gallery welcomes guests for yet another relaxing ‘Open House’ presentation in which we celebrate good company and great art. As we do for every new TNF, the art presentation in the entire gallery is switched up with different works from our substantial stock of fine art. Noteworthy this month is that the exhibition on the first floor has been put together by one of our own most experienced artists, in this case fulfilling the role of guest curator, Kenneth Flijders. Don’t miss this special presentation in which Kenneth Flijders displays works from artists whose imagery deals with social themes in Suriname and abroad. Doors open from 19:00-21:00 hrs.
Kenneth Flijders & Cassandra Gummels-Relyveld
‘Kumbat’tey’ by John Lie A Fo
What: Kumbat’tey by John Lie A Fo
When: Friday April 7-Saturday April 15, 2017. Opening hours are Monday thru Friday from 08:00am-04:30pm and on Saturday from 08:30am-01:30pm. Extra opening nights on Friday April 7 and Saturday April 8 from 07:00pm-09:00pm. The gallery is closed on Friday April 14.
Where: Readytex Art Gallery (RAG) (also on Facebook), Steenbakkerijstraat 30, Paramaribo, Suriname
John Lie A Fo, Legacy, mixed media on canvas, 124 x 110 cm, 2017 / PHOTO Courtesy Readytex Art Gallery, 2017
Readytex Art Gallery (RAG) is about to present her first large solo exhibition of this year. In the spotlight this time around, is an interesting Surinamese artist who hasn’t had a solo exhibition in Suriname for a long time, 35 years to be exact. A bit surprising, because although he hasn’t lived here for quite some time, the artist as well as his work are undoubtedly proud representatives of Surinamese culture and Surinamese identity. High time therefore, for a special presentation of the engaging work of artist John Lie A Fo here in the country where he was born and where his ‘kumbat’tey’ (umbilical cord) was buried.
With the exhibition Kumbat’tey, Readytex Art Gallery has quite a surprise in store for visitors, especially those that are not yet familiar with the work of Lie A Fo. The explosions of color, the bold imagery and the uncurtailed expressiveness in the work of this artist will hold the attention and fuel the imagination of viewers for quite some time. Visual artist Lie A Fo is driven entirely by his feelings and by his passion for the culture, the traditions and the rituals of his country. He does not restrict himself to one culture, but he proudly considers every culture present in Suriname his own, and that is the essence conveyed throughout his work. Rituals and symbols of the Maroons, the Indigenous, the Javanese and the Chinese are all represented in his current collection. And although the cultural elements are undoubtedly recognizable for the true Surinamese, his work does not contain a literal portrayal of those cultures. His imagery, just like his own personality, is characterized by exuberant, free and unrestrained expression. He is in no way constrained by reality, but gives free reign to his creativity and his imagination, which often results in compositions that incorporate elements that are somewhat playful, surprising and even a bit unexpected. And in addition to culture, the collection also deals with other subjects that Lie A Fo is interested in or concerned with. Birds, free in nature, the disabled children that he works with in French Guyana, the painful subject of the child-slaves in Haiti, in short everything that makes an impression on this warm and passionate artist, will at some time or another find its way into the imagery on his canvas.
The undeniable and universal appeal of the art of Lie A Fo makes a strong impression not only in French Guyana where the artist currently lives and works, but also on visitors at his earlier exhibitions in Europe and the Caribbean. And starting from Friday the 7th of April it will be the Surinamese public that gets to enjoy the new collection of art works that John Lie A Fo presents in his solo exhibition Kumbat’tey at Readytex Art Gallery. The exhibition is on display in the gallery until Saturday the 15th of April. Opening hours are Monday thru Friday from 08:00am-04:30pm and on Saturday from 08:30am-01:30pm. Extra opening nights on Friday April 7 and Saturday April 8 from 07:00pm-09:00pm. The gallery is closed on Friday April 14.
A sneak preview …
Thursday-Night-Feature: Open House Readytex Art Gallery
What: Thursday-Night-Feature, Open House Readytex Art Gallery (Facebook Event)
When: Thursday March 02, 2017, 19:00-21:00 hrs
Where: Readytex Art Gallery (RAG) (also on Facebook), Steenbakkerijstraat 30, Paramaribo, Suriname
The Thursday-Night-Feature (TNF) of Readytex Art Gallery for the month March is right around the corner. This upcoming TNF is planned according to a slightly different concept. This Thursday night will simply be a pleasant ‘Open House’ intended to give visitors the opportunity to stroll through the gallery at their leisure, thus allowing them to fully enjoy the new selection of works that the gallery team has put on display especially for this occasion. In order to enhance the visitor’s experience, most artists will also be present and available on this evening to speak with anybody who wishes to do so.
As is customary, the ground floor of the gallery will display a mixed collection of artworks from all of the artists represented by Readytex Art Gallery. Therefore, those guests who find it difficult to navigate the stairs do not need to do so in order to enjoy a beautiful exhibition of artworks. All artists do however have work on display in a separate spot on one of the gallery’s other three floors. Readytex Art Gallery currently represents a group of 19 ambitious core and guest artists, whom collectively ensure that there is always a beautiful, stimulating and varied collection of art on view for the visitors.
At Readytex Art Gallery you will thus always find works of art from (in alphabetical order): Reinier Asmoredjo, Paul Chang, Leonnie van Eert, Kenneth Flijders, Shaundell Horton, Soeki Irodikromo, Sri Irodikromo, Rinaldo Klas, John Lie A Fo, Kurt Nahar, Sunil Puljhun, Dhiradj Ramsamoedj, Xavier Robles de Medina, Roddney Tjon Poen Gie, Kit-Ling Tjon Pian Gi, René Tosari, Steven Towirjo, Wilgo Vijfhoven and Hanka Wolterstorff.
Readytex Art Gallery gladly invites everyone to visit the ‘Open House’ on the TNF of Thursday March 2nd. It is sure to become a leisurely evening filled with art and stimulating conservations for artists and art lovers alike. And who knows what else the night has in store; some interesting art discussions perhaps? We would like to encourage our guests to use this opportunity to speak with the artists whose work they are interested in. Barring a few, most of the artists living in Suriname will be present. And of course the team of Readytex Art Gallery will also be available for any questions or comments you may have.
A recent picture with most of the Readytex Art Gallery core artists and team members
Thursday-Night-Feature: Photo Exchange Suriname Greece
What: Thursday-Night-Feature, Photo Exchange Suriname Greece
When: Thursday February 03, 2017, 19:00 hrs (doors open 19:00 hrs, start presentation 19:30 hrs) – exhibition February 03-11, 2017
Where: Readytex Art Gallery (RAG) (also on Facebook), Steenbakkerijstraat 30, Paramaribo, Suriname
On the second Thursday-Night-Feature (TNF) of the year 2017 Readytex Art Gallery once again offers her visitors an interesting and different presentation, this time in a special collaboration with the Surinaamse Fotografen Vereniging (SuFoV) (on Facebook). On Thursday February 2nd Readytex Art Gallery (also on Facebook) will host a video exhibition of the photo exchange between SuFoV in Paramaribo and the Hellenic Photography Society in Athens, Greece. SuFoV was founded in 1993 and currently has approximately 50 members whom practice the art of photography professionally or as an amateur. The Hellenic Photography Society has it’s origins in 1952.
Both organizations are members of the Fédération Internationale de l’Art Photographique (FIAP) (on Facebook), an international organization with more than 85 member-countries. The FIAP aims to promote collaboration between photographers from different countries and to promote photography in general throughout the world. During regular contact between Greek and Surinamese FIAP liaison officers in June 2016, the idea for a photography exchange project was born. Suriname is mostly unknown amongst Greeks and the SuFoV members were immediately enthusiastic about the opportunity to portray their country in a positive way abroad. On Thursday February 2nd the video exhibition opens simultaneously in the photo gallery of the Hellenic Photography Society in the center of Athens, Greece and in Readytex Art Gallery in the center of Paramaribo, in Suriname.
The exchange offers photographers from both countries the opportunity to present their countries to viewers from another part of the world in a positive and creative way, through their work. At the same time they also get the opportunity to showcase their photographic skills on a broader international platform.
At the video exhibition in Suriname the digital photos of the Greek and Surinamese participants are shown on three specially installed television screens in Readytex Art Gallery. Everyone is welcome to join this interesting presentation. The doors of the gallery open at 7:00 pm and the presentation starts at 7:30 pm.
After the opening presentation on the TNF of February 2nd, the video exhibition of the photo exchange between SuFoV and the Hellenic Photography Society will remain on display in the gallery, although on one screen, up until Saturday February 11th.
The opening hours of the gallery are from Monday–Friday from 8:00am–4:30pm and on Saturday from 8:30am–1:30pm.
In addition to enjoying the video exhibition, guests at the TNF on Thursday February 2nd, can of course also take a moment to enjoy all of the visual artworks on display throughout the gallery. All floors are newly decorated with works of art selected from our storage by curator and visual artist Rinaldo Klas and the RAG team.
Thursday-Night-Feature: presentation by René Tosari about syuru, also known as sorrel
What: Thursday-Night-Feature, presentation by René Tosari about his fascination with syuru, also known as sorrel
When: Thursday January 05, 2017, 19:00 hrs (doors open 19:00 hrs, start presentation 19:30 hrs)
Where: Readytex Art Gallery, Steenbakkerijstraat 30, Paramaribo, Suriname
René Tosari, ‘The Beauty’, mixed media on canvas, 120x100cm, 2016
At Readytex Art Gallery the new year brings with it new possibilities and new challenges, and of course also a new series of Thursday-Night-Features to look forward to! Eager to kick things off for us in 2017 is Surinamese visual artist René Tosari. On January 5th, the first Thursday of the year, Tosari presents a new collection of artworks inspired by an interesting, somewhat unexpected theme. His new artwork has everything to do with a specific plant that the artist is currently fascinated with: sjoeroe or sorrel as the plant is called in the Caribbean.
Over a year ago René Tosari became interested in the fruit of the sorrel plant through a friend who is originally from Trinidad, David Michael. When the artist discovers that it is a very sturdy plant that multiplies easily and rapidly, and from which delicious and healthy tea or juice can be made, ideas start brewing in his artistic brain. David’s stories about the use of sorrel in traditional Caribbean culture as well as Tosari’s own childhood memories about the use of sorrel in Suriname strengthen his interest. The engagement shown in the earlier work of Tosari, especially in the 80’s with regards to socio-political and also agricultural subjects, seems to resurface as a result of his interest in sorrel.
The artist currently has plenty of sorrel plants growing in his garden and his home is always well stocked with sorrel tea. He eagerly hands out plants and fruit and his fascination with the plant has inevitably grown into a new art project. He has entered into a new phase in his art. In some of his new works the inspiration can be read from the canvas literally, but there are also a number of interesting abstract pieces in which the link with sorrel is not so obviously present.
Why and how Tosari became so interested in sorrel and how it has influenced his art, will be explained by the artist at the TNF on Thursday January 5th. He will be assisted in his presentation by David Michael who will briefly talk about the history and the use of sorrel in the Caribbean.
+++
René Tosari has a new website. Please click here.
+++
Eline Visser is in her first year of DIY Textile School, Amsterdam, The Netherlands. For her modules Contrast & Form, she does research and experiments collage techniques with paper and textile, during her stay in Boxel, Wanica, Suriname in December 2016-January 2017. Here is a Sranan Art Xposed Flickr album with the Project Syuru Sorrel Sjoeroe.
+++
From Wikipedia: “In the Caribbean, sorrel drink is made from sepals of the roselle (Hibiscus sabdariffa). In Mexico, ‘agua de Flor de Jamaica’ (water flavored with roselle) frequently called ‘agua de Jamaica’ is most often homemade. It is prepared by boiling dried sepals and calyces of the sorrel/flower of Jamaica plant in water for 8 to 10 minutes (or until the water turns red), then adding sugar. It is often served chilled. This is also done in Saint Kitts and Nevis, Guyana, Antigua, Barbados, St. Lucia, Dominica, Grenada, Jamaica and Trinidad and Tobago where it is called ‘sorrel’. (In Jamaica, it was introduced by Akan slaves in the late 1600s.) The drink is one of several inexpensive beverages (aguas frescas) commonly consumed in Mexico and Central America; they are typically made from fresh fruits, juices or extracts. Something similar is done in Jamaica but flavor is added by brewing the tea with ginger and adding rum, making a popular drink at Christmas time. It is also very popular in Trinidad and Tobago where cinnamon, cloves and bay leaves are preferred to ginger.”
Making sorrel drink in the happy kitchen / PHOTO Marieke Visser, 2016
‘Round & Around’, Reinier Asmoredjo, Readytex Art Gallery
What: Round & Around, solo exhibition Reinier Asmoredjo
When: Friday November 18 thru Saturday 26, 2016. Opening hours: Monday thru Friday from 8:00am-4:30pm and on Saturday from 8:30am-1:30pm. Extra opening hours in the evenings on Friday the 18th and Saturday the 19th of November from 7:00-9:00 pm
Where: Readytex Art Gallery, Steenbakkerijstraat 30, Paramaribo, Suriname
Reinier Asmoredjo believes that it is important, as a Surinamese artist, to create works with a clear Surinamese identity. That identity has indeed always been front and center in his work. Viewers of Asmoredjo’s work inevitably find themselves almost seduced by the warmth and the energy of the sun, the beauty of the Surinamese flora en fauna and the sensual allure of the Surinamese woman, portrayed so well on his canvasses.
The imagery in the collection is vibrant and colorful, recognizable, but in part also new, abstract, and at the same time also figurative. The familiar elements in the work of Asmoredjo, such as the sun, nature, flowers, fruit, birds, fish, and especially Surinamese women, are again the common thread throughout the work in his new collection. Important therein are the circles, as seen in the shape of the sun and now also as an extra visual detail at the end of the sun’s rays, and very importantly also in the rounded shapes of the female body. They symbolize fertility, the never-ending cycle of life; all the things that make the world turn around: Round & Around.
But in addition to circles, straight linear elements also play an important role in this new collection. Strong profiles with prominent lips, round breasts and derrieres are strengthened in image by elegant long stretched necklines, horizontally extended linear coiffures, and consciously applied lines and stripes. Finding the right balance between the abstract and the figurative is the challenge that Asmoredjo consciously and wholeheartedly takes on every time he sets to work. And he is usually quite successful! This is not really surprising, since each of the artist’s compositions is worked out meticulously in sketch before he even approaches the canvas. Abstract and figurative come together beautifully in a diverse and colorful collection of more than 30 paintings in various sizes. Vitality, beauty, strength and sensuality radiate from his canvasses in a typical and striking way.
Reinier Asmoredjo, ‘Morning Breeze’, acrylic on canvas, 47x74cm / PHOTO Readytex Art Gallery, 2016
Reinier Asmoredjo, ‘Sarong’, acrylic on canvas, 73x100cm / PHOTO Readytex Art Gallery, 2016
Reinier Asmoredjo, ‘Fon Ksaba’, acrylic on canvas, 100x152cm / PHOTO Readytex Art Gallery, 2016
Reinier Asmoredjo, ‘Reincarnation’, acrylic on canvas, 100x152cm / PHOTO Readytex Art Gallery, 2016
